REVIEW: Hartford Symphony Orchestra, "Tchaikovsky & Bonds"

The Bushnell, Belding Theater, Hartford, CT

www.hartfordsymphony.org

December 13-15, 2024

by Michael J. Moran

For the fourth weekend of their 2024-2025 “Masterworks” series, HSO offered impressive debuts by Windsor-born guest conductor Jonathan Taylor Rush and HSO 2024-2025 Joyce C. Willis Artist in Residence, and pianist Clayton Stephenson. Rush took the stage to warm applause, responding, “I feel like I’m home,” and engagingly introducing the opening work on the program: three of the seven movements in Margaret Bonds’ “Montgomery Variations.”

Bonds, a leading African-American female composer, wrote these “freestyle variations” on the Negro Spiritual “I Want Jesus to Walk with Me” in 1963-1965 to depict several key events in the US Civil Rights Movement. Rush and the HSO brought incisive vigor to “Decision,” stirring conviction to the “March,” and tender compassion to “Benediction”.     

Stephenson was next a sensational soloist in Tchaikovsky’s popular 1874/75 first piano concerto. A New York City native trained from childhood at the Juilliard School there, he launched into the famous opening “Allegro non troppo e molto maestoso” with commanding technical bravura. He played softer passages with equal sensitivity. His clarity of touch highlighted both the playfulness of the piano’s many dialogues with other instruments and its power in solo cadenzas. Rush and the orchestra were animated partners in a dramatic opening movement, a radiant “Andante semplice,” and an explosive “Allegro con fuoco” finale. 

In total contrast, Stephenson’s encore, Vincent Youmans’ 1924 hit, “Tea for Two,” showcased the pianist’s formidable jazz chops, with its easy swing tempo and elaborate improvised embellishments.

The program closed with an electrifying version of Tchaikovsky’s much less familiar 1875 3rd symphony. After experiencing its five movements – a haunting “Introduzione” and vibrant “Allegro,” a graceful waltz-like “Alla tedesca,” a luminous “Andante elegiac,” a fleet “Scherzo,” and a majestic “Polonaise” finale– as carefully shaped by Rush and cogently performed by the HSO, listeners in Belding Theater could only wonder why this colorful showpiece isn’t heard more often.

The rapturous audience reception of the charismatic Rush, former Associate Conductor of the Baltimore Symphony Orchestra, suggested that return visits would be welcome.

The next Masterworks program (February 14-16) will feature HSO Music Director Carolyn Kuan and violinist Sirena Huang in music by Dawson, Strauss, and Sibelius.

REVIEW: Springfield Chamber Players, "Johnny Appleseed and Other Fun Stories"

52 Sumner, Springfield, MA

www.springfieldsymphonymusicians.com

December 8, 2024

by Michael J. Moran

Host Mark Auerbach introduced this Sunday matinee as a “family friendly” concert, and the enthusiastic audience had many younger members. The program featured three short works and one longer piece, each with immediate appeal to music lovers of all ages.

The concert opened with British composer Alan Ridout’s “Ferdinand the Bull,” a 1971 setting for solo violin and narrator of American author Munro Leaf’s classic 1936 children’s book, “The Story of Ferdinand.” The plot is set in Spain, where Ferdinand grows up preferring to “smell the flowers” under a cork tree by himself to practicing with his playmates for a bullfighting career, until an accident under his tree suddenly propels him into a bigtime ring in Madrid.

Photo by Brady LePage

Springfield Symphony Orchestra assistant concertmaster Marsha Harbison played her violin
with witty virtuosity, and Marty Kluger, SSO principal timpanist, narrated with droll humor, alternating deadpan and animated passages, and punctuated his reading with a cowbell, for Ferdinand’s mother (a cow) and wood blocks, for the excitement of the bullfight. Whimsical drawings by the book’s illustrator, Robert Lawson, were projected on both sides of the stage.   

Next came a ravishing section by SSO cellist Boris Kogan and pianist Clifton J. Noble, Jr., of “The Swan,” a popular excerpt from French master Camille Saint-Saens’ 1886 “Carnival of the Animals.” This was followed by “The Boston Wonder,” a 1959 setting for flute, piano, and narrator by Peter Schickele (aka P.D.Q. Bach) of his own comical tale about a cantankerous flute. SSO flutist Ellen Redman and Noble were nimble soloists, and Auerbach, an amusing narrator.

The major work of the afternoon was Noble’s “Johnny Appleseed,” commissioned and premiered in 2008 by the Longmeadow Chamber Music Society. The versatile composer again played piano and conducted an ensemble of Harbison, Kogan, Redman, Michael Nix on banjo, mezzo-soprano Justina Golden, and narrator Kara Noble, Jerry’s wife. The piece was inspired by Jane Yolen’s 2008 book about John Chapman, the real “Johnny,” who grew up in Longmeadow and famously planted apple trees across the U.S. two centuries ago.

The performance was a crowd-pleasing delight, with special plaudits to Golden, whose mellifluous voice replaced the children’s chorus in Noble’s original version with a wide emotional palette, and to Nix, whose fluent banjo added folksy charm.

The group's next concert take place on February 9, 2025.

Review: A Christmas Carol A Ghost Story of Christmas

Hartford Stage, Hartford, CT

www.hartfordstage.org

through December 29, 2024

By Suzanne Wells

Hartford Stage presents a hauntingly mesmerizing rendition of “A Christmas Carol, A Ghost Story About Christmas,” written by Charles Dickens and adapted and directed by Michael Wilson. This chilling adaptation delves deep into the eerie and spectral elements of the classic tale, creating an atmosphere that lingers long after the final curtain call.

The story follows the redemption of Mr. Scrooge, who transforms from a penny-pinching moneylender to a kind-hearted benefactor, thanks to a once-in-a-lifetime opportunity presented by his deceased partner, Jacob Marley, and the ghosts of Christmas Past, Present, and Future.

Allen Gilmore is outstanding as Mr. Scrooge. He is truly detestable in his portrayal of an ungenerous and uncharitable man obsessed with money. Gilmore masterfully alternates between miserly, comical, and sorrowful as he learns his fate, ultimately becoming almost joyfully, childlike as a repentant man. It’s a lot to convey for one character, and Gilmore performs the transitions seamlessly.

Noble Shropshire, who plays both Mrs. Dilber and Jacob Marley, is incredible, infusing each role with the appropriate eerie drama. His low-pitched voice prophesizes the dismal events to come, creating a spine-shivering atmosphere that draws the audience in. As the ghost of Jacob Marley, he convincingly conveys his regrets and hopes with dramatic flair.

The Ghosts of Christmas Past, portrayed by Rebecka Jones, and Present, portrayed by John-Andrew Morrison, are both lovable and fearsome. They share Scrooge’s happy times but never let him overlook the consequences of his choices. Jones and Morrison truly shine as beacons of light on stage.

Scenic design by Tony Straiges is simplistic and efficient during the many scene changes, allowing the audience to fully immerse themselves in the story without feeling lost in the transition. Collaborating with Robert Wierzel, in charge of lighting design, the audience passes from the darkened streets of a smoke-filled London to the mouth of hell to the end of time. Costume design by Alejo Vietti combines the Day of the Dead with Victorian England, clearly establishing there are ghosts walking among us. Choreography by Hope Clarke provides a mixture of traditional Victorian quadrilles with infusions of ballet and modern moves, contributing to a festive and hauntingly disturbing atmosphere.

Preview: Anita Kunz: Original Sisters Portraits of Tenacity and Courage

Norman Rockwell Museum, Stockbridge, MA

www.nrm.org

November 9, 2024 through May 26, 2025

by Shera Cohen

You probably see her shopping in the grocery, jogging the treadmill at the gym, or sitting beside you at the conference table. Who is she? She’s smart and savvy, eager and diligent, tenacious and courageous. She is many women. She might be you.

Anita Kunz (b. 1956)
Illustration for Original Sisters: Portraits of Tenacity and Courage by Anita Kunz
(New York: Pantheon)

The unassuming, yet internationally renowned and award-winning, sketch artist Anita Kunz brought a group of 12 media folk on a special tour through her current exhibit “Original Sisters: Portraits of Tenacity and Courage” at the Norman Rockwell Museum, Stockbridge, MA. Leading the group and answering questions along with Kunz were two staff representatives from NRM. 

While the name Anita Kunz may not be familiar to many, it is a sure bet that her art is; seen through the years in Rolling Stone, The New Yorker, Vanity Fair, Time, and many other magazines. Book covers are a big part of her talent, having illustrated over 50.  

Yet, Kunz is rather shy about her own accomplishments. Referring to the NRM exhibit, she credits the success of the “Original Sisters” drawings of 300+ accomplished women, not to herself, saying, “This is not about me, it is about them.”

Filling nearly every inch of wall-space in several of the Museum’s large connecting exhibit rooms are illustrations of faces upon faces in equal sized frames depicting portraits of women; some famous, some not, some alive, and others not. It’s safe to say that all ethnicities, races, and ages are represented throughout the centuries and the world.

Why would any one artist set her mind on such a massive project? Probably one answer was timing; during the height of the COVID-19 pandemic. Under unknown circumstances, how can any single person fill time meaningfully?

Since no one knew how long the pandemic would last; Kunz had no deadline for her project. That said, she was positive that she would never run out of faces to draw.

Her decision to focus on women of strength, each in her own milieu and era, came from curiosity, asking, “How come I never knew about these women?” 

At her studio in Toronto, the isolation of the world-wide disease set her on a journey searching the internet for information about notable women in history.

Important to know is that Kunz’s exhibit is fun. Many faces are humorous as they look at the NRM visitor looking at them. Knowing Rockwell’s own work, it’s not surprising that guest artists’ subjects have a twinkle in their eyes or half-smile. Mr. Rockwell would be pleased.

Of course, many women’s names and faces were recognizable to Kunz and to most of us; i.e. Maria Callas, Isadora Duncan, Queen Elizabeth I, Anne Frank, and Gloria Steinem.

Then there were the subjects who were rather well-known from history books but without memorable faces; Edith Head, Nina Simone, and Dorothy Parker.

For those with no references to fall back on -- the unknown and the unnamed -- Kunz let her imagination create: Amanirenas, African warrior queen who defeated Augustus Caesar (died circa 10 BCE); St. Elizabeth of Hungary, princess who vested herself of all trappings to the needy (1207-1231); and Tomoe Gozen, legendary Japanese samurai warrior (circa 1157-1247).

Exploring and studying vast amounts of knowledge was essential to depict the “tenacity and courage” within each subject along with writing succinct bios. 

The drawings are not sketches, later to become finished products. Kunz’s task – to unrelentingly draw a woman-a-day, without fail, complete art pieces set to frame and mount.

The commonality of her subjects are the triumphs of the women; whether it be with the hindsight of history (Sojourner Truth 1797-1883) or through current events (Greta Thurnberg b. 2003).

NRM curators have put logical thought into the placement of the pictures. Oftentimes, one portrait faces another as if in conversation. Other women are deep in thought, having fun, or purposely facing her audience.

Each woman is shown in color primarily on a flat one-color background. The subject’s actual signature appears in different forms. It is obvious that Kunz took great care in fitting the names with the pictures. Whenever possible, the signature is written in the native language (Egyptian feminist philanthropist Huda Shaarawi), others are bold in block letters (US vice president Kamala Harris), or in a font which replicates the accomplishment of the woman (television credits for soap opera pioneer Irna Phillips).

Visitors to NRM will need more than a few hours to view and read about each woman. If that is not a possible, Kunz’s coffee table book is not a substitute, but a companion on the page. 

At the start of the project, and throughout, some names were culled from those suggested to her by people she knew as well as strangers who knew about her quest to honor women. Since COVID has somewhat subsided, Anita Kunz is no longer isolated in her home questioning herself, “What should I do next?” In fact, she has lots more women on her “to do list”. She actively seeks suggestions of women of tenacity and courage.

[This exhibit] is a tribute to those upon whose shoulders I stand with gratitude, respect, and love.  Anita Kunz, November, 2021

REVIEW: Springfield Symphony Orchestra, "Echoes of the Americas"

Symphony Hall, Springfield, MA

www.springfieldsymphony.org

November 16, 2024

by Michael J. Moran

With this program of five works by different Hispanic composers, led by Puerto Rican-born conductor-violinist Guillermo Figueroa and featuring Uruguayan-born composer-pianist Miguel del Aguila, the SSO presented a virtual mini-festival of Latin American music in 90 minutes.

Guillermo Figuero

It opened with Puerto Rican composer Ernesto Cordero’s “Insula Tropical” (“Tropical Island”), a concerto for violin and string orchestra written in 2007 for Figueroa, Music Director of the Santa Fe (NM) Symphony Orchestra. Its four short movements depict lively and quiet scenes of Puerto Rican life in music of lush romanticism. Figueroa led the SSO strings in a sensitive account, while also playing the solo violin. It was highlighted by a whirlwind minute-long finale, with a virtuosic violin solo depicting the flight of a golden hummingbird. 

Next came the evening’s major showpiece: the 2004 “Three Latin American Dances,” by multiethnic American composer Gabriela Lena Frank. The first dance, “Jungle Jaunt,” exudes the highly charged energy of Amazonian dance forms. The second, “
Highland Harawi,” is an intoxicating brew of nocturnal sounds, mysterious and slow. The third, “Mestizo Waltz,” evokes popular Indian, African, and mariachi band rhythms. Figueroa drew a sensational performance from an enlarged SSO, especially the brass section and a massive array of percussion instruments.

The best-known work on the program was the second suite from Spanish composer Manuel de Falla’s popular 1919 comic ballet “The Three-Cornered Hat,” portraying folk life in 19th-century Spain. Incorporating Spanish dances, the suite consists of a fandango (“Dance of the Miller’s Wife”), a seguidilla (“Neighbors’ Dance”), flamenco (“Miller’s Dance”), and a frantic closing “Jota.” Figueroa and the SSO delivered a colorful reading.

The concert closed with two brilliant dances. Argentinian composer Astor Piazzolla’s 1974 “Libertango” transformed his country’s national dance, the tango, into what became known as “nuevo tango,” introducing elements of jazz and modern classical music. Ending the program was Miguel del Aguila’s infectious 1994 “Conga,” with the composer playing the dazzling solo piano part. Transforming the familiar Caribbean dance rhythm into a luxuriant Viennese waltz and back again, the brass and percussion created many hallucinatory effects. Conductor and ensemble were electrifying partners, and the enthusiastic audience loved it.

The SSO’s next concert, “Heralding the Holidays,” will feature conductor William Waldrop and the Springfield Symphony Chorus, on December 14th.

REVIEW: Hartford Symphony Orchestra, "Brahms’ First"

The Bushnell, Belding Theater, Hartford, CT

www.hartfordsymphony.org

November 15-17, 2024

by Michael J. Moran

While the third weekend of the HSO’s 2024-2025 “Masterworks” series included only two pieces, both are beloved cornerstones of the standard classical repertoire, and the Belding Theater audience was accordingly large and appreciative.

Inbal Segev

HSO Music Director Carolyn Kuan opened the program with Sir Edward Elgar’s 1919 cello concerto, featuring internationally acclaimed Israeli-born cellist Inbal Segev. Reflecting the English master’s sorrow over the devastation of World War I and the mortal illness of his cherished wife, the concerto was Elgar’s last major work. Segev’s tone was aptly rich and mellow in her opening soliloquy. This was followed by a glowing “Adagio; Moderato,” a light, playful “Lento; Allegro molto,” an elegiac “Adagio,” and a restless “Allegro; Moderato; Allegro, ma non troppo,” including a final, heart-piercing cello soliloquy. Segev’s playing was deeply emotional and technically secure, with Kuan and the HSO offering full-blooded support.

In sharp contrast, Segev’s encore was a joyous account of the closing “Gigue,” a lively Baroque dance, from Johann Sebastian Bach’s 1723 third suite for solo cello, which highlighted her fleet and flawless finger work.

The program ended with Johannes Brahms’ 1876 first symphony. After he was publicly hailed at age 20 by his mentor Robert Schumann as “the savior of German music,” it took Brahms over twenty more years of off and on work to publish his first attempt at the form so highly developed by Beethoven. But his first symphony was an immediate success, one critic even calling it “Beethoven’s Tenth.”

Kuan and the HSO delivered a stirring performance, masterfully shaping the distinctive character of each movement into a dramatic whole, with perfectly judged tempos throughout. The opening “Un poco sostenuto; Allegro” started forcefully and continued with power and warmth. The “Andante sostenuto” was gentle and reflective. The “Un poco allegretto e grazioso” was lithe yet relaxed. The closing “Adagio; Piu andante; Allegro non troppo, ma con brio” was first suspenseful, then majestic, and finally, jubilant. The standing ovation was long, loud, and well earned.

  

The HSO’s next Masterworks program (December 13-15) will feature guest conductor Jonathan Rush and the HSO debut of 2024-2025 Joyce C. Willis Artist in Residence, pianist Clayton Stephenson, in music by Margaret Bonds and Tchaikovsky.

Review: The Bushnell, “The Lion King”

The Bushnell, Hartford, CT

www.bushnell.org

through December 1, 2024 

by Lisa Covi

There are few things in modern life as clear and entertaining as the story in a Disney musical. It shows stark differences between villains and heroes; children and adults can laugh at the same jokes, and there is always a happy ending.

 

The tale delivers a message that all can agree on: that the circle of life continues when we are all able to take care of each other and our world. If we cannot “feel the love tonight” every day, the Bushnell offers the experience of joy in pageantry, performance, and pathos of this triumphant journey.

"The Lion King" musical debuted in 1997 based on the animated 1994 film where much of the music and most of the plot originated. Similar to the biblical stories of Joseph and Moses, where some of the themes are drawn, the action takes place on the continent of Africa.

 

On stage, the production hits hard and fast at the beginning with the score by Hans Zimmer, Elton John, and others that have a vibe between Graceland and Zulu chant. The stylish scenery is simple and evocative, incorporating cast members as grasslands and scrim to project upon. The elephants in the room (along with lions, gazelles, and hyenas) are large hybrid costume/props that resemble puppets the performers inhabit. The distinctiveness of this particular show is the way that the cast performs the drama and music in a physical style using these mechanical devices. The effects blend lighting and music to consistently awe the audience.

The Bushnell is the ideal, large venue for "The Lion King". From the orchestra pit to the ceiling, entrances and performances even take place in the balcony.

 

The non-puppet protagonist Rafiki sings some of the best music. Portrayed by  Mukelisiwe Goba, his character calls out the mood of each act. Peter Hargrave is a deliciously deep-throated Uncle Scar who contrasts with brother Mufasa, Darnell Abraham. They manage their recognizably branded headpieces while projecting the human characteristics each actor brings to the part. The youngest performers of Simba and Nala conveyed pathos and energy. Characters Timon and Pumbaa as Simba's meercat and warthog friends nearly steal the show with personality cast upon the costumes. This cast was more than musical actors – they performed like Ginger Rogers – backwards and in high heels. The entire seasoned ensemble delivered a satisfying and hearty show.

The audience was clearly enamored and laughed heartily at the modern references and inside Disney jokes. The only noticeable minor distractions were an acoustic muddiness in the hall that made dialog sometimes difficult to understand, and a shadow that occasionally appeared on the back wall during a spotlight sequence.

 

The production was a magical masterpiece of visual and aural pleasure. As someone who came expecting an experience based on Disneyland's Lion King Parade from the 1990's, it was pleasantly surprising to discover that Broadway's highest grossing production truly lives up to the title “World's #1 Musical.”

Review: Theatre Guild of Hampden, "Driving Miss Daisy"

Theatre Guild of Hampden, Hampden, MA

www.theatreguildofhampden.org

through October 27, 2024

by Janice Webb 

Photo by Mark Giza

A premier jeweler may tell you that a simple quality setting can make the finest jewel shine all the brighter. This is the same with community theatre. On a simple school stage with minimal props, Anna Giza shone as brightly as any Broadway star.

Giza's portrayal of Miss Daisy as a feisty, fiercely independent and opinionated Southern matron was nothing short of brilliant. Giza has returned to the stage after a five-year hiatus, and it is wonderful for audiences that she is back. 

Miss Daisy's story, directed by Mark Giza, was well told as a series of vignettes taking place over a period of 20-years. One section of the stage depicted the demeanor of the parlor of an affluent Atlanta lady. The opposite side was the creation of the interior of her automobile.

It is not a spoiler to know that when Daisy, at age-72, crashed her own car, it is time son Boolie, aptly played by Joe Lessard, to insist that he hire a colored driver named Hoke, portrayed by Floyd Patterson II.

The story is a character-study of individuals in a certain era in the South. For those seeking action, "Driving Miss Daisy" is not a good fit. However, for those seeking a sincere story of racism with compassion and understanding this play is ideal.

At first, Giza plays the epitome of an older woman who resists the assistance of anyone. The social/economic divide between wealthy Southern matron and colored servant is very apparent. Over the decades as her physical body deteriorates, her emotional aptitude grows. She realizes that Hoke has become more than a servant; he has become someone she can always rely on. She realizes he is her best friend. 

Floyd Patterson II, a local musician with a large following, was a surprising, yet brilliant choice in casting. Patterson set his funky groove with his guitar aside, replaced by "right on" acting chops. Yes! Patterson can act and has quite a few plays to his credit. Patterson's portrayal of Hoke was very authentic and heartwarming.

When there are only three actors in a play, all must rise to the occasion as any weakness in character portrayal will be spotlighted. There is nowhere to hide, and no one to hide behind. All three actors performed beautifully, and the story was well told.  

Review: Majestic Theater, “A Moon for the Misbegotten”

Majestic Theater, West Springfield, MA

www.majestictheater.com

through December 1, 2024

by Jarice Hanson

 

Photo by Kate Rankin

The current production of “A Moon for the Misbegotten” at Majestic Theater gives audiences an opportunity to see and hear some of Eugene O’Neill’s most personal work. For those who know the author’s name but not the plays, this production demonstrates why O’Neill became known as the “father of American theater.” O’Neill introduced a style of realism to American theater that was popular elsewhere in the world—and in doing so, he changed the direction of American theater in the 1920's through the 1940's. It is not surprising that of the 25 plays he wrote, four of them won Pulitzer Prizes for Drama—an accomplishment unequaled in theater history.

 

Director James Warwick and Producing Director Danny Eaton have condensed the original four act drama to two acts, to be more friendly for contemporary audiences, and though the dialog in Act I is circuitous, much relies on the exposition of Phil Hogan, the patriarch of the Hogan family, charmingly portrayed by John Thomas Waite, and his effervescent daughter, Josie, played by Sue Dziura.   

 

In Act II, the plot explodes with Josie and her love interest, Jim, played by Jay Sefton, who seems to mine the many layers of his character. The chemistry between Dziura and Sefton is exhilarating and the two communicate beautifully on stage. They show the audience the genius behind O’Neill’s multi-layered characters, and his raw dialog, defining heartbreak and lust. 

 

Caleb Chew and Tom Dahl round out the cast in smaller, but still powerful roles that help patrons understand Hogan family dynamics and the peril of the tenant farmer when the landlord decides to sell the land. All of these characters define the Depression as well as showing how alcoholism and depression were endemic to that period in history. 

 

Greg Trochil’s set is a masterpiece of a run-down post-Depression farm in Connecticut; and James McNamara’s subtle, but effective lighting design transforms the Majestic’s stage into a monochromatic, moonlit backdrop for the larger-than-life colorful characters. Director Warwick has his cast working at a fast pace, but every word is crystal clear, and the character choices bold and satisfying.

 

This show is a classic in many ways. It may not be considered O’Neill’s greatest work, but in drawing the characters and situations from his own life, the audiences learns much about his approach to life and to theater at a time when he himself, was increasingly unable to write anymore.

 

As a reference point to American theater in the 1920's -1940's, those in their seats see how one author defined a generation of drama and cultural themes. This production offers much to think about, and for all of these reasons, don’t miss it!

REVIEW: MOSSO, "Springfield Chamber Players Clarinet Quintet"

52 Sumner, Springfield, MA

www.springfieldsymphonymusicians.com

October 26, 2024

by Michael J. Moran

Tonight’s concert marked this ensemble’s debut performance at its new venue, 52 Sumner. Located a short distance from Route 91, at 52 Sumner Avenue in Springfield, it provides ample free parking in a lot directly across Sumner Avenue with a traffic light and crossing signal. A former church built in 1894, now extensively renovated, 52 Sumner offers comfortable seating for up to 400 people, new sound and lighting systems, and warm yet clear acoustics.    

The performers are all musicians of the Springfield Symphony Orchestra: principal clarinet Christopher Cullen; violinist Masako Yanagita, SSO Concertmaster for over 40 years; violinist Miho Matsuno, an SSO member since 1992; and violist Ellen Gronningen and cellist Patricia Edens, both associate SSO members. Their long experience playing together was evident in their warm rapport and technical cohesion.

Their program opened with a piece for the full ensemble: an affectionate and sensitive reading of the 1926 “Six Studies in English Folk Song,” by Ralph Vaughan Williams. Each lasting two minutes or less, and mostly in slow tempos, they quote and then briefly elaborate on traditional melodies. The suite made a delightful concert opener, especially the rousing finale, based on “As I Walked over London Bridge.”

The next two pieces featured the four string players. First came the two inner movements of Alexander Borodin’s popular 1881 String Quartet No. 2 in D Major, both used in the 1953 Forrest and Wirght musical “Kismet:” a playful “Scherzo,” and a gorgeous “Nocturne.” These were followed by jazzy arrangements for string quartet by Paul Chihara, in his “Ellington Fantasy," of two songs by Duke Ellington and Billy Strayhorn: a shimmering “Mood Indigo,” and an intricate “Sophisticated Lady.”

The concert ended with a rhapsodic account by the full ensemble of the 1967 clarinet quintet “Souvenirs de Voyage” (“Memories of Travel”), by Bernard Herrmann. Best known for the film scores he wrote for Alfred Hitchcock, Herrmann brought cinematic colors to this picturesque piece: a dramatic “Andante pastorale – Allegro,” a lilting Irish-inspired “Berceuse,” and a lively Italian-flavored “Andante tranquillo quasi barcarolla,” with a catchy tarantella rhythm.

Informative spoken comments by Cullen and Matsuno heightened audience engagement in this intimate space. Next up is “Johnny Appleseed Plus,” featuring Clifton J. Noble, Jr., on December 8.

REVIEW: South Windsor Cultural Arts, "Anthony Trionfo, Flute; Albert Cano Smit, Piano"

Evergreen Crossings, South Windsor, CT

www.facebook.com/SouthWindsorCulturalArts

October 27, 2024

by Michael J. Moran

When flutist Anthony Trionfo asked his South Windsor audience how many had never attended a flute recital before, quite a few hands went up, including this reviewer’s. By the end of his triumphant debut here with Spanish/Dutch pianist Albert Cano Smith, the charismatic American musician had likely persuaded many concertgoers to attend more of them in the future. 

Trionfo & Smit

These internationally renowned performers opened their program with a passionate reading of Amy Beach’s lush 1893 Romance, Op. 23, for violin and piano in a sparkling arrangement for flute and piano. Trionfo next took the spotlight with a glowing account of Johann Sebastian Bach’s only work for solo flute, his 1723 Partita in A minor, including a graceful “Allemande,” a lively “Corrente,” a rapturous “Sarabande,” and a fleet “Bourree Angloise.”

The duo continued with a performance of Francis Poulenc’s popular 1957 Sonata for Flute and Piano that vividly captured what Trionfo called its “quirkiness” in a brooding “Allegretto malincolico,” a tender “Cantilena: Assez Lent,” and a rollicking “Presto giocoso.” In their bubbly rendition of the Waltz from Benjamin Godard’s 1889 Suite of Three Pieces, Trionfo’s ebullient motions made him look like a pied piper leading this “fun dance” across the stage.     

A reduction for flute and piano of the last three movements from Bach’s 1731 orchestral Suite in B minor featured a touching “Polonaise,” a stately “Menuet,” and an electrifyingly fast “Badinerie.” An arrangement for flute and piano of Bela Bartok’s 1918 piano suite of “Hungarian Peasant Songs” offered sharp contrast, with its shifting folk-dance rhythms. The 1831 “Grand Polonaise” by Theobald Boehm, the inventor of the modern flute, brought this eclectic program to a rousing close.

 

But Trionfo’s astounding virtuosity and his contagious joy in showcasing the flute’s wide range of sonorities, along with Cano Smit’s versatile support, brought them back for an encore: a brilliant rendition of the “Allegro” from Gabriel Faure’s 1898 "Fantaisie" for flute and piano. Personal spoken introductions by both players to the music and its meaning for them further enhanced this memorable afternoon.

 

Concerts in this 43-year-old series by world-class artists take place on Sundays at 2:00 pm, and open seating in its acoustically outstanding auditorium begins at 1:30. SWCA will next present pianist Llewellyn Sanchez-Werner on November 17.

REVIEW: Springfield Symphony Orchestra, "New England Reverie"

Symphony Hall, Springfield, MA

www.springfieldsymphony.org

October 19, 2024

by Michael J. Moran

This concert’s title derives from the two works on the program’s first half, by Massachusetts
composers at the turn of the 20th century, who were members of both the “Boston Six” and the “New England School.” After an enthusiastic season-launching national anthem, with audience participation, Taiwanese-American conductor Mei-Ann Chen led the SSO in an equally upbeat account of “Jubilee,” the first of George Whitefield Chadwick’s four 1904 “Symphonic Sketches.”  

In spoken comments, the effusive Chen proved an avid booster of Springfield (“my new favorite city”), noting that the only one of Chadwick’s “Sketches” inspired by a scene in Springfield (“A Vagrant’s Ballad”) would be far less appropriate for tonight than the celebratory “Jubilee.” Newly appointed as the SSO’s Artistic Advisor, she also shamelessly coaxed applause for the musicians, which the large, appreciative audience needed no prompting to give.

McDermott & Chen

Next came the piano concerto by the first successful American female composer, Amy Beach, who, also a skilled pianist, gave its 1900 world premiere with the Boston Symphony Orchestra. Internationally acclaimed American pianist Anne-Marie McDermott joined the SSO in a bravura performance of this large-scale 40-minute showpiece in four movements.

McDermott brought dazzling technique and emotional depth to a dramatic opening “Allegro moderato,” a playful “Scherzo (Perpetuum mobile): Vivace” that was in constant motion, a lush and poignant “Largo,” and an exhilarating “Allegro con scioltezza” finale that was as nimble and quick as its title. Chen and the SSO offered colorful support.

Her scintillating encore – both Bourees from Johann Sebastian Bach’s first English Suite – showcased McDermott’s easy command of the classical repertoire.

The concert ended with a forceful account of perhaps the most famous symphony by any composer, Ludwig van Beethoven’s 1808 fifth symphony, in which Chen’s energetic leadership drew particularly inspired playing from the orchestra. The iconic four-note motif that begins the opening “Allegro con brio” had visceral power. The flowing “Andante con moto” was alternately sensitive and grand. A suspenseful “Allegro” third movement led without pause into the triumphant finale (also marked “Allegro”), which erupted in a blaze of glory.  

The SSO’s next concert will be “Echoes of the Americas,” a program of Latin American classical music, with conductor-violinist Guillermo Figueroa and composer-pianist Miguel del Aguila, on November 16.

Review: Hartford Stage, "Dr. Jekyll & Mr. Hyde"

Hartford Stage, Hartford, CT

www.hartfordstage.org

through November 3, 2024

by Shera Cohen

Photo by T. Charles Erickson

An ideal play to commence Hartford Stage’s 2024/25 season coinciding with Halloween is “Dr. Jekyll & Mr. Hyde,” Jeffrey Hatcher’s adaptation of Robert Louis Stevenson’s classic.

It is doubtful that no one in the audience was ignorant of the tale of a man with two distinctly opposite personalities; one being somewhat normal, the other the epitome of evil. 

The production is taut, dark, and scary. HS does everything right. The depiction of “J&H” does not follow the usual formula. The play sometimes confuses its audience. It isn’t  just the grade-school audience members seated in the row behind me who repeatedly asked their mom, “Did he kill the other guy? Where did he go?”* [see note below]

The kids wondered aloud the questions that many adults probably thought. The concession line makes for an excellent location to eavesdrop. Lots of puzzles to figure out. However, “J&H” is so well crafted that every patron returned after intermission. Questions are answered in Act II. 

“J&H” may be a director’s dream, as Melia Bensussen (HS’s Artistic Director) stylizes the characters; oftentimes actors can approach their roles over the top physically and/or verbally, yet never scene steal. Without spoiling the story, it is safe to say that nearly every character is a little bit Hyde. Dr. Jekyll’s work is to delve literally into the psyche of what makes a human good or bad, using himself as the litmus test.

“J&H” stars an ensemble cast. Nathan Darrow (Jekyll) creates an upper-crust intelligent fellow who is so tightly-would that the slightest movement is able to make his character snap. Darrow projects the angst and torment that absorbs his Hyde. Yet, throughout the plot, Darrow is not the only Hyde among us. 

No actor outshines any other. The producer and director have selected a troupe of top-notch thespians, with lots of professional theatre credits. These men and women help to bring out the best in each other.

The genius triumvirate of Sara Brown (scenic designer), Evan C. Anderson (lighting designer), and Jane Shaw (sound designer) deserve the highest kudos. Brown has created the exquisite, immense, dark, and chilling set worthy of a Tony Award. That’s only the start: floating doors, at least four escape hatches, winding staircases, windows becoming scientific laboratory beaker cabinets, three acting levels with a person or shadow rear centerstage. Who are these people? Voyeurs? The set must be an actor’s fantasy. Added are startling cracking sounds and instant beaming lights amid soft period music. 

Hartford Stage’s “J&H” is professional theatre at its best, both onstage and backstage.

*Note: Perhaps promotion for “J&H” included recommendations that youth under a certain age should not attend; if so, I hadn’t noticed. It wasn’t just the little girl and her brother seated behind me who jumped at the play’s start. I joined them. Scary stuff. Some language is lewd, one character is a prostitute – something to check prior to taking kids to the theatre. There are many other cultural opportunities in the Pioneer Valley for youngsters to enjoy.

REVIEW: K and E Theater Group, “Promises, Promises”

K and E Theater Group, Northampton, MA

www.ketg.org

through October 20, 2024

by Michael J. Moran

 

The original production of “Promises, Promises” in 1968 boasted a witty book by Neil Simon, a brilliant score by Burt Bacharach, and clever lyrics by Hal David and won two Tony Awards. Its mix of light-hearted satire and serious drama can be challenging to balance and may explain why the show has only been revived on Broadway once. But K and E’s ebullient production seems to have found the sweet spot for putting it across to modern audiences.   

 

Based on Billy Wilder’s 1960 film “The Apartment” and set in 1962 Manhattan, the story focuses on Chuck Baxter, a junior executive in a large insurance company, who hopes to advance his career by lending his apartment to his married superiors for trysts. Chuck also falls for Fran Kubelik, a waitress in the company cafeteria. Romantic complications ensue, taking an unexpected turn for the worse, before a hard-won happy ending for the leading couple.

Dion, Choquette and Berube

Casey Dion is an appealing Chuck, softening his fierce ambition with self-deprecating
narrative asides to the audience. Shealyn Berube is a sympathetic Fran, whose ambition is more for love than status. Joshua Aaron Mason is haughty as company personnel manager J.D. Sheldrake. Myka Plunkett is a hoot as flirting Marge MacDougall, and Gene Choquette is hilarious as Chuck’s neighbor, Dr. Dreyfuss, who delivers some of Simon’s funniest lines with perfect timing. The vehemence of Aileen Merino Terzi’s parting words to Mr. Sheldrake as Miss Olson, his secretary, also reveals an edgy MeToo sensibility in the script of this “Mad Men” era tale.

Musical highlights include: an exuberant “Overture,” which showcases Bacharach’s catchy irregular rhythms and wordless choruses; Berube’s stunning “I Say a Little Prayer” and “A House Is Not a Home;” the playful “A Fact Can Be a Beautiful Thing,” by Dion and Plunkett; and Dion’s powerful take on the title song. Music Director Elizabeth Monte’s seven-member onstage band offers animated support, notably Laura Ross’ mellow guitar and Pete Grimaldi’s hot trumpet.

 

Director-choreographer Eddie Zitka (the “E” of K and E, with co-founding partner Ken Comia) keeps his 13-member cast in constant motion, rhythmically moving elements of his ingeniously minimal set on and off the Northampton Center for the Arts stage. Period-appropriate costume design by Moonyean Field and Zitka adds further zest. 

 

This entertaining trip down memory lane is highly recommended for mature theatergoers.

Preview: "Bravo: Adele Addison", A Celebratory Event

November 3, 2024, 2pm-3pm

Community Music School, 

127 State Street, Springfield, MA

Adele Addison in 1955
Photographed by Carl Van Vechten

Adele Addison sang her first concert at age 12 at Old First Church, Springfield, MA. Those were the first luscious notes from Adele’s soprano voice which led her to a professional career throughout the U.S., Europe, on recordings and film.

In the Spotlight is proud to formally honor Adele Addison for the first time in her home city of Springfield. Addison is 100 years-old. 

“Bravo: Adele Addison” will take place on Sunday, November 3, 2024 from 2pm – 3pm at the Community Music School of Springfield, 127 State Street, Springfield. Ideally, Addison would be in attendance, but due to her frailty at this age, a video tape of the program will be sent to her at her home. Admission is FREE.

July 24, 1925 was a special day in the history of Springfield, MA. On this date, Adele Addison was born. Addison, an African-American lyric soprano was a figure in the classical music world during the 1950’s and 1960’s. She appeared in several operas but spent most of her career performing recitals and concerts in world-stage auditoriums. 

Her performances spanned a wide array of literature from the Baroque period to contemporary compositions. She is best remembered today as the singing voice for Bess (played by Dorothy Dandridge) in the 1959 movie, “Porgy and Bess”. Known for her polished and fluent tone, Addison made a superb Baroque vocal artist. Many of her recordings were with the New York Philharmonic under the baton of Leonard Bernstein.

As a teenage, Addison was selected to sing as a soloist with the Springfield Symphony Orchestra at Symphony Hall (then called Springfield Auditorium). Addison began dedicated vocal studies as a teenager and, following her graduation from Classical High School in 1942. Her Classical High School yearbook states, “She sings like a bird”. 

The singer won her first scholarship to study at the Westminster Choir College in Princeton, NJ. Further scholarships enabled her to pursue graduate studies at Princeton and attend summer sessions at the Berkshire Music Center (now known as Tanglewood).

She continued to study voice at the Juilliard School, and in 1955 she made the prestigious stage appearance with the New York City Opera, debuting as Mimi in Puccini's “La Bohème”. The New York Post said, "…about the most appealing interpreter of the Parisian seamstress yet to appear on the City Center stage. Small, frail looking, and pretty, Miss Addison enhanced these assets by acting and singing with moving poignancy and sincerity."

The Music School’s entry on State Street will be open with a greeter at the door. The venue is wheelchair accessible. Parking is located behind the school and on-street. NOTE: 11/3 begins Daylight Savings Day.

The program is sponsored by a grant from the Springfield Cultural Council, an agency of the MA Cultural Council.

Additional support for “Bravo – Adele Addison” comes from: the Community Music School, Springfield Museums, Springfield Women’s Commission, and FOCUS Television.

For information email spotlightinc@verizon.net

REVIEW: South Mountain Concerts, "Academy of St. Martin in the Fields Chamber Ensemble"

South Mountain Concerts, Pittsfield, MA

www.southmountainconcerts.org/concerts.html

October 6, 2024

by Michael J. Moran

Perfect weather for Berkshire leaf-peeping cast a warm autumnal glow on a packed house at the final program in the 2024 season of this 106-year-old early fall chamber music series founded by renowned music patroness Elizabeth Sprague Coolidge. But the music on the program featured all three of its composers in the springtime of their careers.

Tomo Keller

The performers, eight principal players of the London-based St. Martin in the Fields orchestra, led by their first violinist, Tomo Keller, debuted at South Mountain in 2019, and this was their first return engagement. They opened today’s concert with the “Two Pieces for String Octet,” which eighteen-year-old Dmitri Shostakovich wrote in 1924-25. The four violinists, two violists, and two cellists of the Academy Ensemble stressed the experimental modernism of the young Russian composer still finding his voice in a brooding “Prelude” and restless “Scherzo.” 

Next came a glowing account by six players of the “Sextet in A, for Two Violins, Two Violas, Two Cellos. Op. 48,” which then 36-year-old Czech composer Antonin Dvorak wrote during his early maturity in 1878. Its relaxed spirit may reflect Dvorak’s growing confidence after he had just received a government grant recommended by his fellow composer Johannes Brahms. An ardent “Allegro moderato” was followed by a melancholy “Dumka” (a Slavic elegy) and a headlong “Furiant” (a fast Bohemian dance), both forms that Dvorak used often in later works, and a sweeping “Theme and Variations” finale that builds from a modest folk-inspired tune to a powerful conclusion.    

The full ensemble regrouped to end the concert with a thrilling rendition of the “Octet in E-flat, Op. 20,” written in 1825 by sixteen-year-old German child prodigy Felix Mendelssohn. The piece’s formal balance and melodic invention have made it not only Mendelssohn’s own chamber masterpiece but one of the most popular works of chamber music by any composer. The Academy musicians presented a vigorous and flowing “Allegro moderato ma con fuoco,” a meltingly tender “Andante,” a fleet and gossamer “Scherzo: Allegro leggierissimo” (played exactly as marked: “as lightly as possible”), and a joyous closing “Presto.” A more festive way to finish a season would be hard to imagine.    

Tickets for the September-October 2025 South Mountain Concerts season go on sale next May.

PREVIEW: Paradise City Arts Fair

3 County Fairgrounds, Northampton, MA

www.paradisecityarts.com

October 12, 13, 14, 2024

Nearly 30 years ago, Bravo Newspaper’s 24th edition was hitting the streets. Lauren Grossman and I were publishers. One of the cover-page, above-the-fold, articles featured the new Paradise City Arts Fair. 

What was once a racetrack, were now dusty and murky grounds and large empty barns. Husband-and-wife artist team, Linda and Geoffrey Post, then created something beautiful literally from mud. Needless to say, at first the couple questioned each other, asking how can we transform this venue to showcase quality crafts and fine art? Would people come from throughout the country to a small New England town? 

Hindsight is, of course, 20/20. Amazingly and thankfully, Paradise City has become one of the “Top 10 Art Fairs sand Festivals in America”. [AmericanStyle Magazine]

Paradise City has boasted attendance far beyond the Post's expectations. Annually, among the huge groups of enthusiasts and shoppers is me.

All of the art, of every genre imaginable and some never imagined, is high-end because it is among the best of the best in the United States. I can only imagine the fun and feigned torture the judges must go through in their selection process. I would love that job.

If you attend, and I hope you do, plan for at least 3-hours viewing the crafts, talking to the creators, walking by the outdoor sculpture, and lunching in the giant food/music tent. Local musicians perform throughout the fair.

“My tried ‘n true method” of experiencing the fair, and not to exceed my self-allotted 3-hours, is to realize that I can’t see everything. Hard as it is to believe, but there can actually be too much art.

With no offense to jewelers, of which there are many, I skip all. Someone else might set jewelry as their first destination. It’s all to one’s liking. 

Crafters are located in attractive spaces in each barn or on the lawn, with a variety of each art form at every venue. Many of the artists are old-timers, yet the organizers make sure there is room for first timers as well as locals. No matter the category, each vendor must be vetted.

Paradise City’s crafters include the genres: metal, leather, wood, painting, photography, mixed media, furniture, fiber, works on paper, glass, ceramics, and jewelry.

My 3-hour clock is ticking – what to look for? My first instinct would be paintings and photography. Why? Because I have no skills at either which makes me appreciate the talent of others even more. Whimsy, unusual, new; these are a few of my favorite things; i.e. furniture that looks like humans [think “Beauty and the Beast”] or a metal 8’-foot tall whooping crane.

I surprise myself each year when I gravitate to two particular artists. The surprise is that I normally do not like sculpture or ceramics (I refer to as pottery). Yet, without fail, I purchase at least one item from each – an example of my personal goal to support living artists when possible.

The sculpture pieces are large brass tree limbs with multi-color, delicate leaves for a wall creation. The artist has designed the branches so the patron can add more branches, twist the shape, and grow larger wall art…or not. 

The second crafter specializes in small, unusual, usable ceramics with waves and splatters of color in green and blue. My first purchase was many years ago with my mother as my guest. She loved these works of art. With her birthday two weeks later, this became the ideal gift. Year after year, fair after fair, when my mother was unable to go, I would make another selection for her. Mother’s Day and Chanukah gifts just kept on coming. 

When Mom passed away, at age 99 ½ (half-years count when you are a toddler and a senior), I inherited each bit of pottery that I had gifted her. I said to myself, “I live in a condo. I have no more room for these”. Yet, discovered that when something is important, there is space for it and for the memories.

Review: Berkshire Theatre Group, "The Weir"

Berkshire Theatre Group, Stockbridge, MA

www.berkshiretheatregroup.org

through October 27, 2024

by Janice Webb 

Photo by David Dashiell

I have always been enraptured by an Irish brogue; it feels to me like a warm fire in a cold hillside pub. Indeed, that is exactly how it revealed in playwright Conor McPherson's "The Weir". 

 

As the actors step on the stage and start their lilting, musical dialogue I felt safe and at home,
just as the characters of "The Wier" portray in their theatre home. The story, actually several stories, take place in a neighborhood pub in Carrig, County Tipperary, Ireland. Each patron has their own history shaped by families and past decisions. These five people are not best friends, but individuals that make the whole. 

The play opens with Jack (Sean Bridgers), the patron pouring a Guiness -- well, trying to as the pump is broken, and he must resort to a bottle of beer. He is followed by Brendan the barkeep (Philip Themio Stoddard). The order of personalities onset seems a bit backwards, that a patron would be the first in the pub, but it is remote interior Ireland and that's how it starts and that's how it is.

Enters the shy "scientific" Jim (Joey Collins), Finbar the gregarious realtor (Harry Smith), and newcomer from Dublin, Valerie (Stephanie Jean Lane). Each actor is superb in roles that they make human. 

What follows is an evening of stories of ghostly nights passed, graves dug, fairy roads discovered, and apparitions seen; a bit unsettling, but a good play for October with Halloween approaching. 

In between the stories swapped, the audience sees what our current world is missing: the lost art of a tale well told, shared between neighbors, a sense of community, a night among friends. 

Director Eric Hill has positioned actors in each character's place in this tiny world; on the old tavern's floor in chairs where none match. At other times, it is clear that Hill has lined up this night's pub patrons, made ready for one tale ascending to another with Jack's emotionally powerful narrative at the last. 

The plot and characters create a look back in time before everyone was glued to their cell phones, where neighbors helped each other even if you didn't always agree with each other. In sharing anecdotes, they also learn a little more about themselves. 

With an Irish brogue, the actors could have been reading the Dublin phonebook and I may have been happy for a bit. However, it was clear by the instant standing ovation, that the tales told were engrossing and truthful of the various human conditions as we pass through life. 

At the play's end, I asked myself, are there ghosts and fairies living with us and what would we do if they appeared? 

Note: Because our latest writer, Janice Webb, comes with a heritage as Irish as can be and has visited the "old country" several times, In the Spotlight asked for a review from her perspective. 

REVIEW: Goodpeed Musicals, "No Love Songs"

Goodspeed Musicals, East Haddam, CT

www.goodspeed.org

through October 20, 2024

By Suzanne Wells

Photo by Tommy Ga-Ken Wan

Everyone has their go-to playlists—the road trip jams, the workout anthems. The musical drama "No Love Songs" at The Terris Theatre, directed by Andrew Panton and Tashi Gore, introduces life’s playlist in an emotionally charged production.

Conceived by Kyle Falconer and Laura Wilde, this musical spins a classic love story between a musician and an independent young woman, played out like pages from a diary. They come together, drift apart, face challenges, and search for a way forward—each pivotal moment underscored by a song from their own life’s playlist.

Jessie, portrayed by the talented John McLarnon, is the love-struck musician balancing family life and his touring band. His rich, timbered voice and distinct Scottish brogue add depth to nearly every scene and song, making his performance unforgettable.

Anna Russell-Martin delivers a powerful portrayal of Lana, a new mother isolated from friends and family. She transforms seamlessly from a hopeful college girl to a desperate single parent, each scene layering complexity and eliciting palpable despair.

The music, written by Kyle Falconer of “The View” and arranged by Gavin Whitworth, includes toe-tapping numbers like “Stress Ball” and “Rake It In,” as well as soulful ballads such as “Still Here” and “Mother.” While the songs effectively enhance the storyline, their frequent reprises and incorporations into other numbers can make them blend together, leaving nothing particularly memorable to hum on the way out.

The stage, designed to resemble a bar, cleverly uses amplifiers and equipment boxes to represent various locations, adding a gritty, authentic feel to the production. Cate Mackie’s costume design hits the mark, with Jessie’s rock-star ensemble of jeans, t-shirt, flannel, and jean jacket; while Lana’s wardrobe of a jumpsuit, leather jacket and Doc Martens doubles as worn-out pajamas, visually narrating her emotional journey.

"No Love Songs" beautifully captures the highs and lows of love and life, offering a raw and moving portrayal of triumph over despair. This musical drama is a poignant reminder that through life’s greatest struggles, the music plays on.

REVIEW: Hartford Symphony Orchestra, "Prokofiev"

The Bushnell, Belding Theater, Hartford, CT

www.hartfordsymphony.org

September 27-29, 2024

by Michael J. Moran

For the first weekend of their 2024-2025 “Masterworks” series, the HSO’s Music Director, Carolyn Kuan, followed an HSO premiere of a Romantic showpiece honoring two orchestra members with a double helping of favorite masterpieces by Russian composer Sergei Prokofiev.

After a stirring traditional season-opening national anthem, HSO Concertmaster Leonid Sigal and Assistant Principal Second Violinist Jaroslaw Lis soloed in Spanish violinist-composer Pablo de Sarasate’s 1889 “Navarra” for two violins and orchestra. Celebrating their 20th and 30th HSO anniversaries respectively, they traded the virtuosic runs and sweet harmonies of this lively folk-based waltz with the polish and flair of longtime colleagues, warmly supported by Kuan and the ensemble.   

Sigal introduced their encore – the “Allegro” second movement of Prokofiev’s 1932 sonata for two violins – as a bridge between the bulls of Sarasate’s native Pamplona and Prokofiev’s wolf. The two soloists met the technical challenges of this brief, astringent workout with aplomb.

Next came Prokofiev’s most popular work, “Peter and the Wolf,” which he subtitled “symphonic tale for children, for narrator and orchestra.” Written in 1936 for the Moscow Children’s Theatre, it uses different instruments of the orchestra to depict characters (Peter, his grandfather, a bird, a cat, a duck, and a wolf) in an original story by the composer about the importance of courage.

While Kuan and the HSO fully captured the dramatic spirit of the story and its happy ending, the standout performance was the finely tuned, folksy but urbane narration of music entrepreneur and HSO board member June Archer. When he related how (spoiler alert) the wolf swallowed the duck, younger audience members audibly gasped.

The program closed with a blazing rendition of Prokofiev’s 1944 fifth symphony. Composed when World War II was turning in the Allies’ favor, he intended it as “a hymn to free and happy Man, to…his pure and noble spirit.” The opening “Andante” was reflective and vibrant; the whirlwind “Allegro marcato,” relentless and sardonic; the slow “Adagio,” alternately radiant and brash; and the closing “Allegro giocoso,” an exuberant romp.

The HSO’s next Masterworks will again honor Sigal, who will conduct on October 18-20.